Glad it was helpful!

I have already copied down your four paints for the Zorn palette. I have done a lot of portraits which are referred to as my griefart because they are long gone and recently gone family members whom I loved. A teacher I had at the time I suggested a lizard Crimson with yellow ogre for face but I will be pleased to try out your Academy I’m red. I’m not really a realistic painter but I do think that traditional rules and training the eye to see shapes and colours is important.

I agree with this! I'd love to learn more about doing backgrounds

I think he touched on the subject before. (VIDEO= PAINT TALK: My Best Tips on Setting Up a Space to Oil Paint) Can you elaborate more on what you want to see? He might make a new video about it with the added input.

@@RatusMax I was thinking of the way the light can create a mood in a still life. You see a lot of them that are pretty dark, like in a shadow box, and I was wondering how you light your canvas without killing the effect. And for a landscape there's a lot Coach could talk about like morning vs evening light and how it changes the colors. I've been watching how a water tower near my house can change colors according to the time of day and the sky/clouds/sunlight that hit it. Thought it would make a good video.

Glad you enjoyed it!

You are so welcome!

I am going to tell you this right now. The best concept artists still use references. If not that they constantly work on painting from life/references to get the intuitive feel of the lighting, structure, feel, etc. They block in the overall composition, form and/or perspective of the of the painting. Then use physical/3D graphics references, previous knowledge of how they painted light striking an object from life, and picture references. No veteran artists paints purely from imagination. It's a trap new artists fall into that hold them back from creating great works.

Yeah James Gurney is a good example of those artists

Thank you 😊

Finally completed! Love it!

😂

lol no they dont

I paint everyone. The process is always the same. Isolate the color and match it.

TL; DR Look at Paint Coaches (Chris') Morgan Freeman painting. (VIDEO NAME: 10 Great TIPS for Portrait Painting that Work). I just watched it man that video is on point should have more views lol. Trust what he says. The process is the same. Except instead of leaning towards the lighter levels (orange, yellow, white), you'll be sitting near the darker levels.(black, orange, yellow). To me this question is usually asked by those who don't have a full grasp of mixing colors and some other things. At 6:44, he already has the basic colors for the dark skin tones. All you have to do is add a little of, or a combination of orange, yellow and white, to lighten it up a bit. To paint the desaturated areas you will probably take the brown and add a some white with little bit of orange and/or yellow to it until it becomes the color you want. If you go too far, you can add in the orange, black or yellow to bring it back. To brighten the dark brown and keep it saturated you'll probably use the orange and/or yellow with a little white. I recommend you just take some time and mix paint. Don't think about portraits, just find a painting or picture and sit there mixing trying to color match. When you become good at color mixing, these questions of painting different people will be thrown out the window. It's best to isolate your problems and deal with them one by one before putting them back together. If you know you are great at mixing paint, then you can move on to the other problem. I should tell you that you may also have a preconceived notion (the brain does it for everyone to simplify the world around it) of what the color should be and not what is actually there. Look at Paint Coaches (Chris') Morgan Freeman painting. (VIDEO NAME: 10 Great TIPS for Portrait Painting that Work) It took a while to wrap my head around the fact that the side of his face was purely a light cool grey. My brain kept saying "brown skin...brown skin..." So I painted it brown and it looked flat and fake. I had to unlearn what my brain was telling me and really REALLY look at what was TRULY there, that my painting skills jumped. I never once think about painting people, things, etc. I think about alien objects and light interacting with them. I am simply painting shapes with colors. Then at a later stage in the painting, my brain starts to recognize the person, thing, etc. That's when I know I can start placing in details I am familiar with. That was my way to remove my brain from giving me simplified information that sabotaged my paintings. Your solution may be different for you.

3:27 He offers the skin tone painting lesson for free! The link is in the description!

No